Music

An underestimated aspect of Doom, Bobby Prince's score adds an entirely new dimension to the game. Those with 16-bit soundcards cannot fully appreciate the effort that went into the creation of the Doom music; therefore, we have available for download here every Doom and Doom 2 song in .MP2 format, recorded by Michael Massay on a Roland SCC1 sound card. You think you've heard Doom music? Think again.

If you do not have a .MP2/3 player, go here. People with a 16-bit sound card and at least a Pentium 66 can try out the Yamaha SYG20 Soft Synthesizer, which emulates the sound quality of a 32-bit sound card. Also, the Doom music can be purchased in CD form, with sonically enhanced tracks and additional live instrumentation, here.

And if you ever happen to get tired of the original tracks (but how could you), or if you're looking for some fresh blood to feed your demons, we have a nice little Remix section for your revival pleasure. Many of the individual remixes are mirrored here. This section is maintained by Bloodshedder.

Author's Comment: "After recently downloading the jDoom engine, I realised that the midi files were outdated, and thought that they needed a bit of lifting. So I decided to take on the task after discovering that no one had endeavoured to complete the entire score. It took me 6 weeks to create these mixes. All of the songs are remixed, and some more so than others." Grab a demo of the mixes here.

This is a set of Doom remixes, created by myself, intended to somewhat resemble what Doom's music would sound like if it were ported to the NES. All of Doom's music is remade. This is based on my earlier work of Chiptune Doom. You can find a WAD file version here that can be used with ZDoom.

Website comments: "The Dark Side of Phobos is a 23 track, two disk album with remixes of music from the original DooM game for the PC. It is an official Overclocked ReMix site project." The project is distributed in both MP3 and FLAC.

Since remixing the entire Doom 1 score, Ashley has gotten quite a few requests to do Doom 2, and he has delivered. These mixes are of the same high-quality caliber as you'll find in the Doom 1 set. Grab a demo of this set here.

Website comments: "Doom II: Delta-Q-Delta is the eleventh album from OverClocked ReMix. ... The premise behind Delta-Q-Delta was to follow in the footsteps of 'The Dark Side of Phobos', keeping some principles from that album, while still going in a unique direction. DQD focuses on dark-sounding music in a variety of genres."

This is a set of Doom and Doom 2 remixes, done by myself, where all the songs are remixed in chiptune style. The drums are higher quality than what you might find in a typical chiptune. You can find WAD file versions here and here that you can use with ZDoom.

DJ Pretzel of OverClocked ReMix: "Sweet but short monster remix of the DOOM theme, which centers around a bitchin guitar riff, and should please any KMFDM fans in the crowd (me!) as well as providing great ambiance for a retro-deathmatch."

Author's Comment: "I started mixing this tune with normal rock drums and basically was aiming for a better quality remake of the original midi. But that all soon changed when I started experimenting with some trance/acid effects and I liked them, so I decided to try my 'chord trial and error' progression, and I came up with a sequence that really suited the guitar leads. The bass drum I used sounds totally awesome on my headphones, so they has to stay. The lead-up style is something I always loved in trance songs so I had a go at that too, tho I realise it might get a bit crowded here and there, I think it's still enjoyable. Hope you all agree."

Says bigd in an old Doomcenter feature: "It rocks. They've done a great job of not only recreating the music, but also adding nice effects here and there, and adding more of a hard rock, in-your-face feel to it."

A very interesting take on At Doom's Gate. This song has some very kicking drums, a strong and full bass line, some interesting chorus leads, and a piano even makes an appearance. This is all put together into one aurally stimulating piece.

I wish this MP3 was better quality, but you'll have to make do with only 64Kbps. This is still a pretty good rendition of E1M1, though I can't tell if the guitar was programmed or sequenced in, or if it is actually live. The bass is pretty strong, and the drums are a bit explosive.

Not that I've listened to them very much, but this mix sounds like something that would come from Metallica. It's got E1M1 on both ends, but in the middle there's an interlude that sounds pretty much nothing like the original. Still a song to get.

Author's Comment: "I got frantic one day, unable to compose on my own. And I remembered that one of my friends kept on asking me when I'd remix DooM. The first remix wasn't good enough, they wanted my take on the most infamous song, E1M1. After tinkering around with a couple new instruments I decided 'what the hell' and painstakingly transferring note for note the guitar melody. I tend to get my better idea when I'm not at my computer... Always when I'm at work or driving around. It makes it hard to jot down the notes for the different ideas, and I got most of the ideas while at work for this one. After a while, it just grew to what it was. I hope you have a deep sub woofer, though... That 808 kicks hard."

A "re-recorded" version of E1M1's music. At least, I think it's E1M1. Takes a distinctly different angle on At Doom's Gate, and is probably different from what you're used to hearing. Very ambient, smooth, and clear to listen to. A few original Doomish sound effects thrown in here and there. Worth the download.

Author's Comment: "Basically it's Bobby Prince meets Front Line Assembly, but I tried to be a little more original than that.... I think I managed to capture some of that 80's synth/club sound a little bit :)
Equipment used: Yamaha DX7, Yamaha CS1x, Roland U220, Roland R8, Akai S3000XL, Lexicon MPX-200. Mixing through Behringer MX1604 and recorded with Sound Blaster Live 1024. Sequenced with Cubase SX."

This short but sweet rendition of E1M1 plays when you pick up the chainsaw while playing this Vietnam-based single player Half-Life modification. Even though it's not Doom, I highly recommend playing this Half-Life mod.

This piece is a well-done atmospheric mix of The Imp's Song. There's a some variation in the actual notes as compared to the original, but without that this wouldn't really be much of a remix. The drum work is rather strong and nicely varied as well.

This song will probably invoke extremes for most people, as you either like it or hate it. I, for one, like it. It's got loads of distortion on the drums, and some may argue that's what makes it sound good. Get it and see.

Author's Comment: "I present my next mix, entitled 'Synthetic Demon (E1M5).' It's from the original Doom, Episode 1, Mission 5. The original was a rather boring atmospheric piece, and I changed it into an upbeat techno mix with a little orchestra and distortion tossed in for good effect :)"

Author's Comment: "This is an 'Old School' version of the theme song 'Suspense' which is on Episode 1 level 5 of DooM. The 'Old School' sound was created by turning the stringed instruments into pianos and adding some sad whistling and a beat."

Interesting. I did a Google search on the author of this S3M, and it turns out the guy who made it apparently works for Ritual Entertainment now. Anyways, this isn't really advertised as a remix, but deserves to be called one. It adds a couple of instrumental elements not in the original song. This is an S3M file, not an MP3, but it can be played in WinAmp. Author Comment: "Ooooo, everybody ELSES favorite Doom music in S3M. Once again, buy a high end soundcard and this is near what it sounds like."

This is a somewhat dark, crunchy guitar rendition of the Doom song of the same name. The author has this to say about how it was made: "I used pretty crappy equipment.. an Ibanez RG320 with a Boss Metal Zone MT-2 FX Pedal, into the Line-in on my onboard sound card. To mix the tracks I used Quartz Audio Master Sequencer."

In case you haven't noticed, E1M7 and E2M5 have the same music. Anyways, this is a rather heavy rendition of Demons on the Prey, and I'm not sure if the genre fits this song exactly. At any rate, download it and form your own opinion.

Author's Comment: "I always liked this song, but I could never find an ambient version of the song, it was always strings and heavy drums. It was apparent to me that no one ever saw that the beauty of this song came from it's hauntingly sad mainline, not from the pounding on the drums in the background, they were just the icing on the cake."

A new-age type remix of Sign of Evil. Says DJ Pretzel of OverClocked ReMix: "I could go on and on about the textures in his ReMixes - this ReMix in particular has synths that seem distorted, but they never get ugly - they stay RIGHT on the fringe of being clean and distorted, where the textures shimmer but there's no grunge or feedback. Beautiful."

This is a very good remix of E1M8's theme, by the creator of one of the tracks from Quake 2, Climb. The atmospheric choir background and some subtle variations on the guitar lead, along with some fantacular drum work, make this piece definitely worth listening to.

Yet another recreation by Scrag here, on one of the most remixed songs from Doom. The choir synths in this atmospheric song fit perfectly, and the drums are strong and full as well. Also, harmony on the main guitar lead adds a fuller sound to the song.

Author's Comment: "Here's my weirdo death metal take on Sign of Evil (E1M8) from Doom. From the entire game, this is one of only two songs that I actually remember, and after a failed attempt at the first (Knee Deep in the Dead, E1M1), I opted to try this number. The song has a lot of instruments; usual rock stuff plus a string quarted, choir, tubas and piano. Vocals are present and the style is pretty much your usual black metal fare (evil). In case anyone's wondering, the only thing I used on the screaming vocals was distortion, and I had a sore throat for days afterwards."

A somewhat dark and ambient remix of Sign of Evil. Author's comment: "The song was totally rewritten in Skale Tracker, but I really wanted to stick to the dark mood, so the end result is pretty close to the original."

This remix starts out with a soothing piano solo, then builds into a full-blown jazz-techno-fusion remix of the original song. analoq is quite well known for his remixes, and this is one you shouldn't miss.

Author's comment: "This is a frantic synth instrumental mix that matches the speedy pace of the shooting action from the game it comes from, Doom 1. ... To remix this I used Noteworthy Composer and a bunch of soundfonts over the internet. ... This was made for dance game simulators such as Stepmania, hence the relatively short length ..."

Author's Comment: "I first got the idea to mix two diff songs together when I ran a game and played some mp3's at the same time, with my new SBLive I heard both of the songs playing at the same time, and it just clicked into my head :). What better way to start this new formula, Doom and Dune. [. . .] I wanted to leave most of the mix drumless so that people could hear both the Dune and the Doom theme at the same time. It was gonna either be the bass or the heavier drums during the middle, I chose that bass, it just sounded more right. The heavier beats come in towards the end when the Dune theme fades out."

This remix is well done. It draws upon the original elements that are present in The Demons from Adrian's Pen, and adds some new things as well. The wind instrument for the lead solo fits satisfactorily.

Author's Comment: "This is another mix of a song from the infamous Bobby Prince. The level here is E2M2... as in the title of the song. Anyways, I'm not sure what to make of this mix actually, it's my first one in a long ass time, but I don't have all my tools with me here at the Academy, so this song is completely made of stock Reason 2 sounds. This also meant that I couldn't do any real post-processing on the song, so it doesn't sound as polished as my older mixes."

Author's Comment: "This has been collecting dust on my hard drive, and I figured, why the hell not, let me release it. It is a real smorgasborg, to be honest. The title comes from the last chapter of Well's The Island of Dr. Moreau, as does the opening speech."

Not your usual Scragadelic mix, this piece changes the main square wave lead to...well, I can't quite place it, but it seems to be something straight out of a polka song. I don't know, it seems to work, but check it out and see for yourself.

Author's Comment: "The piece is a remix of The Tower of Babel from Doom, the level with the Cyberdemon. It starts off with Strings, moves into synth strings, gets a bit darker with the beat pushing in and a heavily distorted bass line. The lead is my favourite part in the mix (A portahorn lead.) The main chords from the original E2M8 piece kicks in a little later, followed by a sequenced guitar string solo and then repeat to fade."

DJ Pretzel of OverClocked ReMix: "This Doom ReMix is an instant classic, easily one of the best from the series that I've ever heard, and features some truly varied, inspired processing, Rammstein-esque vocals, and a bassline that drives the whole thing and is the business. It's a very good thing when a bassline is the business, and this one is. Layered, filtered synths, electronic drums, and gated guitar hits fill everything out, and there's also more than one breakdown and the PERFECT ending, a mellow, maudlin chorus of fuzzy synth strings."

This is the soundtrack to version 1.0 of the Doom 3 modification Classic Doom 3. Author's Comment: "What you have in your possession is [. . .] all the songs from the Doom 3 mod 'Classic Doom 3'. I made every song but E1M9, which was made by Thumpmonk. The process started in March of 2005 and I was finally done around September of 2005. [. . .] In remaking these songs I was inspired by bands that I listen to. Dream Theater, NIN, Type O Negative, Slipknot."

Author's Comment: "Give this damn song a record for having the longest unrepeated lead solo ever! This song has two parts, first part is the chord progression, the second is the same progression with a whole lead to it. It took me forever to track the lead into the tracker...damn it was long. The drums I used in this were super cool, worked out fine I think. Next feature is the bass...which is that really deep thing pulsing through the whole song. Very deep. At the start I introduced a simple sequence that runs through most of the song, but is only really heard at the start. Also added some acid bits here and there. The organ sample is the lead, and just as in the original, comes in about half way in. The drums sound superb on these headphones...oh did i mention the lead is bloody long? :)"

This is the original MIDI of Running From Evil, with the guitar solo missing and an awesome live one recorded back over the song. Wimdenherder is a member of the band Cursor, which did a medley of Doom songs that you can find on this page as well.

This is track 10 on Mazedude's American Album. Author's Comment: "Every sound in this mix was created from strings. After all, ya take a pizz and pitch shift down fast enough and ya get a bass drum, ya over-reverb something, loop it and add a flange and ya get a lead synth, and so on. The end result is a very unique, yet uniform sounding mix, that certainly provided its share of mixing challenges."

DJ Pretzel of OverClocked ReMix: "This is gothic industrial, featuring choir and harpsichord merging with heavy electric beats and fx. Fading in with basic synth, there's a great vocal effect at 0'31" that ALONE makes this worth listening to. [. . .] The basic piece evolves from there to feature increasingly heavy percussion with a variety of panned bleeps, squirts, wurls, and kachunks, and the introduction of a symphonic organ to compliment the harpsichord. The one thing this piece is (arguably) missing is a strong presence on the low end - no overt, dedicated bassline to speak of."

Let's just say this mix is rather, silly, if you will. It starts off with a chorus of imps shouting out the beginning bars of the song. Don't let the initial insanity put you off, however, as there really is some good music in this remix.

I was sent this remix by someone other than the author, and I deemed it good enough to be placed here. This is an electronic-type remix of Into Sandy's City, and I have no idea who UFO is nor if he has a web site.

Author's Comment: "This tries to be little different doom remix. Remix has quite alot my own stuff." This is very well done, and has quite a bit of variation from the original. Very smooth is a good way to describe this song.

Author's Comment: "I know I should stop remixing this same doom2 piece, but it just won't let me get on with my life. Always calling and telling how much she needs to be remixed and so on. Oh well I thought and so I remixed it again and here it is. I tried to make this different than my other doom mixes, so no dance/trance here. Style is more like pop/rock? ballad, or something =) I did extend the original material quite alot with my own stuff."

Author's Comment (The Joker): "I started this song with the intention of getting Luiza to sign on. She was my first and only choice for the track. I sent her the old beta I made, she signed on, and long story short, we made this awesomeness! Long story kinda long, I did the Synth/orchestral/drumworks, while Luiza did the Guitar/Electric Bass/Guitar FX, each of us having input on the others work (I was pretty much happy from the get go with Lu's work). Anyway, I've taken up enough time. Thanks for reading, hope you enjoy the mix! P.S. The name as well as the tone of the mix was inspired by the John Donne's poem of the same name!"

Author's Comment: "A tribute to the early trackers, I made this thing entirely with 8-bit samples from the glory days of Future Crew, Necros, all those guys. Bit of a different style than ya may be used to, but still heavy enough to please. There's also a TON going on in the piece, so you'll be able to go back and pick up more on every listen, fun fun."

Author's Comment: "Anyway here is my newest doom2 mix. In this mix there is music from levels The pits and Refueling Base and it has dance/trance and acid influences. I hope u all enjoy it as much i enjoyed making it :)"

DJ Pretzel of OverClocked ReMix: "This track is subdued, lacks percussion, and is more of a 'mood' thing. The first time I listened to it I thought it was alright - passable, but not his best work. Then I listened again on headphones, and I have to say the improved stereo separation really helped, as all of the hard work that went into the ambient fx in the stereo field and the panning of the main pattern timbre (sort of like an electronic organ patch, similar to the tone used in much of the original DOOM II score) became apparent. [. . .] This [. . .] shows the more suspenseful, darker side of DOOM II (as opposed to the blast-everything-kick-ass side). Good stuff."

An interesting rendition of Waiting for Romero to Play, this piece expands the bass line and acoustics, and adds more. There's a particular broken-record like effect that adds some variance to the song in parts.

Author's Comment: "This mix is a representation of my feelings I get when playing Doom. When running around in the levels, it's not the speed of the monsters or how they attack me that scares me, since I've played it all before and know them well. The thing about the Doom foes that really gets my heart pumping is knowing that they're there. [. . .] I'm very pleased with the very clear and clean samples I used for this song. It's a slower mix with some powerful drums backed up by a breakbeat loop. I like the way I used the breakbeat in this mix, I think it's very unique and works well with the tune progression. The acidy like sequences that enter half way through the mix go very well with the natural drums and the simple bassline."

DJ Pretzel of OverClocked ReMix: "Mazedude truly surprises with this balls-to-the-wall Doom 2 ReMix that is much heavier and more aggressive than his previous (though no less impressive) submissions. From the nice use of game samples to the in-your-face pitch-bendin' slap-bass-o-death doubled with a synth bass at points to the extensive dsp that goes above and beyond the call of freaky (truly masterful work in the special effects arena . . . you'll see) [. . .] Fans of industrial music or - heck - just plain GOOD music shouldn't hesitate."

Author's Comment: "The original was a bland version of this song that suited the level well but was barely audible. This piece isn't really made to fit the level, but rather to give the last level music a bit of jazz, and rekindle people's love of Doom 2."

This is track 15 on Mazedude's American Album. Author's Comment: "From the moment I considered remixing this piece, I knew I wanted to make it scary. Like, chill-inducing scary. And what better way to do that than to create a soundscape of Hell? Fire, screams, demons, cries of pain, sounds of suffering... and all on top of guitars, organs, strings, choir and industrial percussion. Yes, I am quite twisted. And creating this 8-minute epic masterpiece of horror was a fun evil time."

DJ Pretzel of OverClocked ReMix: "This is one seriously evil mix - it starts off innocently enough with a charmingly delicate bell and piano motif, but don't take that as any sort of indicator of things to come, as Chris builds from there, layer by layer, piece by piece, bringing in rock drums, awesome synth effects, a mean+ugly synth bass with some serious attitude, choir, menacing organ that would make Castlevania proud, and ever- increasing volume. This is intense, jugular-grabbin' stuff that doesn't let up or let you go for a second, so be prepared for a sonic journey into one ReMixer's vision of the underworld, id style. The processed guitar and flammed drum bits later on are just some of the juicy details that - importantly - you can hear amidst the chaos. Also, dig the chromatic rise just before the ending, which is softer but still resolves with menace hanging in the air."

A very impressive medley of several songs from both Doom and Doom 2, consisting of E2M8, MAP09, E1M8, E3M2, MAP10, E2M2, E1M1, and E1M9. Each piece blends smoothly into the other, creating a fantastically rendered medley of Doomy goodness.

This is a very cool medley of several different Doom and Doom 2 songs. It covers the Doom 2 intermission, E1M1, MAP10, Doom intermission, and, last but not least, MAP01, which includes a bitching live guitar solo.

DJ Pretzel of OverClocked ReMix: "This is some heavy stuff indeed, but Mick also works in some subtleties and more elaborate passages, with an almost proggish and flashy guitar solo at 1'50" that's followed by a most definitely proggish synth solo at 2'10" that layers a little ELP over the more contemporary metal backdrop. There's also a plethora of electronic textures, including some synth bass action, and the first 50 seconds are ambient/electronic. The segue at the fifty second mark warrants mentioning - a tortured scream that introduces the balls-to-the-wall guitar with menace and applomb. There's some slick production tricks throughout that you may not have heard in a ReMix before, possibly indicative of Mick's apparent studio experience; while it's predominantly a metal track, there's enough other alchemic goings-on to turn it into a real genre chimera, and a well-blended one at that."

Black Smetana, a self-proclaimed "two-man band", gives us this metal medley of four songs from Doom and Doom 2. Included are At Doom's Gate, The Demon's Dead, the Endgame music from Doom 2, and Into Sandy's City.

John Romero's Comments: "We used to get a lot of stuff in the mail that DOOM fans sent to us and some of that stuff was music based on DOOM. [. . .] Anyway, one day in 1995 a cassette tape arrived at the offices and, as usual, I got it since I was very much the person who was talking with a lot of these people [. . .] We got this tape from a guy named Manny Charleton and the tape was created by the Manny Charlton Band. [. . .] I popped the tape in my tape player and was expecting to hear something less than awesome.... but instead, this song just ROCKED from the start! It's a little over 5 minutes long, but man it was the coolest thing we had sent to us. The tape cover says "Distribute as shareware" in keeping with the spirit of DOOM. Alas, we were so busy the tape somehow ended up in my collection, never to be seen for years...until now. [. . .] I've named it Blood On The Walls as it had no title."

Author's Comment: "DOOM the pc game...simply put...ROCKED. Doom is the REASON why I got a computer. Doom changed everything. Sure, there were newer games that eventually came along (Duke Nukem 3D, Rise Of The Triad, Hexen, Quake, etc.), but none of them ever even came CLOSE to scaring the crap out of me like DOOM did. So this is my ode to DOOM. Thank you DOOM for being the wonderful you that you were...and still are."

Ashley Carr delivers once again, this time with four new remixes from TNT: Evilution. Though the work of four different people (Jonathan El-Bizri, Josh Martel, L.A. Sieben, and Tom Mustaine) and not Bobby Prince, the music in this set is still recognized as an official part of Doom, and these remixes are definitely worthy of being listed here. Remixed are the tracks from MAP05, 10, 14, and the intermission screen.

Author's Comment: "This project (named the CyberDemon Project, a lot of thought went into the name as you can tell!) was to put it basically enhance the quality of the original DOOM soundtracks. I'd thought I'd try a different sound (less of the overdriven and distorted guitars), a much more acoustic sound, guitars and pianos and the like."